Slow Motion Camera |LINK| Download

Usually, when we drop down to ridiculously slow frame rates, especially in compact cameras like this, we take a massive hit with the quality of the footage. And, in 2022, it seems a detriment to be mixing 1080p slo-mo with 4K or 6K native footage. The HERO10 quashes all of that.

I am seeking guidance because Im considering purchasing a camera with the ability to video record footage and have the ability to save and playback the footage in slow motion.....I have no knowledge at all in this field and don't know where to start and upon researching without any knowledge and very limited time it becomes overwhelming to understand and research the information I find with my workload.....Any help from experienced fellow videographers would be much appreciated.....

Slow Motion Camera Download

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The main purpose and intent for my camera needs are for the purpose of taking videos in a motorsport we are involved in....We primarily compete in daylight or dusk and at nighttime...in nighttime there is generally fair lighting from lights set up around the track.

We would be recording the vehicle anywhere from a distance range of 30 feet up to 320 feet....I would need to slow recording down to playback in a speed where it takes up to around 10 seconds to view 1 second of footage...smooth and clear playback footage is pretty important....would prefer a nice smooth clear image with no blur or jitter upon playback....Im speculating here but Im assuming smoothness, clarity, etc... to some degree go hand in hand with cost....Recording would be done either handheld or on a tripod and ability to zoom in and out during recording would be ideal...

I don't to my knowledge need a lot of bells and whistles...I would mainly use it for the above purpose and prefer it is somewhat simple and basic yet does the things necessary to get relatively good/high quality footage...would have to run off battery because a/c voltage wouldn't be accessible.....Auto focus and Auto zoom?...if there is such a thing that maintains a set zoom distance from camera to vehicle would be nice features and anything that can compensate to keep adequate lighting would be beneficial as well....

Note that the gear you'd need to pull that off would be quite expensive. Canon's EOS C70 maxes out at 180 fps, but that will only use part of the sensor (crop mode). If needing the entire sensor, it will max out at 120 fps. More expensive cinema cameras in Canon's line will allow for higher frame rates, possibly without having to crop.

If instead you can get by with 5x slowdown, then 120 fps would be more achievable. You could play back that footage at 24 fps. However, you'd need to ask what framerate the final footage needs to be. If it's 30 fps, then 5x would require 150 fps capture. 10x would require 300 fps capture.

This helps....sounds like the 10x slowdown may be out of my range? doing the math what would be ideal is about 7x slower...I put down 10x as a cushion.....5X slower would probably suffice but that would be the minimum I would need....Seems like a saw a camera with 180fps?......

Just bought a Sony A7iii, its my first real camera and I'm just getting use to it. Im struggling to find an option to watch slow mo back in camera. Is this possible or is it only when the footage has been changed in post.

You can play back the video with slow motion. But it is in a funny place. Press the playback button to open the playback - hit the centre button to start the playback then hit it again the pause the clip. Now press down on the d-pad and you get some options for payback, select the one to the right of play for slow playback

BTW, there are several suggesting that the S&Q mode is good for a casual quick grab but if you are keen and or interested in getting higher quality (the S&Q works at very high compression) use the 100MP/100M (120 if in a NTSC country *) and then slow it down on post production.

My A7iii came today. Just customising the buttons and was suprised to see (or not) that I can't play back 120fps footage to review the slow motion in camera. To begin I thought it wasn't even recording slow motion going by the in camera playback, until I removed the memory card, put it in my laptop and played it there, where indeed it had recorded slow motion and played fine. But in camera it doesn't seem to show the footage in its slow motion form. It plays just real time.

removed the memory card, put it in my laptop and played it there, where indeed it had recorded slow motion and played fine. But in camera it doesn't seem to show the footage in its slow motion form. It plays just real time.

That's because 120fps (or other high frame rates) do not equal slow motion. High frame rates are used to create slow mo videos, which is most often done in a video editor where one can choose how much to slow the footage (and where to).

As you mention below, some cameras assume that's what you want to do and will save the file with the slower frame rate set so it will play back in slow mo by default, but at that point the camera has made the decision for you (you can change it later though).

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Above $2500 cameras tend to become increasingly specialized, making it difficult to select a 'best' option. We case our eye over the options costing more than $2500 but less than $4000, to find the best all-rounder.

The AK-UC4000 camera offers the high video quality that is only possible with a large sensor, along with a wide range of 4K acquisition with the latest functions such as HDR, BT.2020 and high-speed shooting. The camera keeps up with diversifying systems with features such as 12G-SDI, TICO over SDI (4K over 3G-SDI) output, and MoIP, making it suitable not only for studio production but for a wide range of operations such as sports and live events.

The AK-UC4000 camera system offers high video quality that is only possible with a large sensor, along with a wide range of 4K acquisition with the latest functions such as HDR (HLG), BT.2020 and high-speed shooting*1. The camera keeps up with diversifying systems with features such as 12G-SDI, TICO*2 over SDI (4K over 3G-SDI) output and MoIP*3, making it suitable for a wide range of operations such as sports broadcasting, concert IMAG, studio production, live events and so much more. With high video quality and a system that can be adapted to various situations, this camera provides the level of high-end production that is expected in the 4K age.

With available V-Log, the AK-UC4000 becomes fully compatible with the CINELIVE workflow of the VariCam LT, as well as the EVA-LIVE workflow of the EVA1. This allows for accurate camera color matching across your production and opens up a world of possibilities. Combined with its recent official approval by the Netflix Post Alliance, the AK-UC4000 joins the list with the already approved Cinema VariCam lineup and the EVA1 cameras as another powerhouse for creating Netflix approved content.

The 2/3 lens can be used without an external adapter, and the internal lens is specially designed for large sensors, ensuring high video quality. This new acquisition method maximizes the effectiveness of incident light. With the exclusive Chromatic Aberration Compensation (CAC) technology, communication between the lens and camera allows for the deployment of a sophisticated algorithm that automatically compensates for the registration error caused by lens chromatic aberration and minimizes the circumjacent blur.

This camera supports the uncompressed 12G-SDI output that is needed in the 4K age and enables 4K video to be transferred with one cable. Light compression technology called TICO is also used, enabling 4K video to be sent by 3G-SDI without losing video quality, so that the current HD infrastructure can be used in 4K systems. It is also expected to support the next generation of MoIP (Media Over IP)*3.

With the AK-UCU600 Camera Control Unit (CCU), uncompressed long-distance transmission of 4K/HD video signals via optical fiber is supported. The AK-HRP1000/AK-HRP1005 Remote Operation Panels (ROP) are equipped with a color LCD display that provides excellent visibility and functions for a quick response. This system achieves high-quality video and excellent operability. In cases where power is supplied by the CCU, it is possible to transmit at a long distance of up to approx. 2,000 m between the camera and the CCU. The distance can be extended up to 10,000 m*4 by providing a local power supply at the camera head and using general-purpose single mode optical fiber. In addition to a dedicated serial line Between the CCU and the ROP, IP connection via LAN cable is also supported.

In addition to the EBU and NTSC preset color matrix, camera users can save two custom specified linear matrix tables, and additionally tune the saturation and hue of individual colors with a 12-pole color correction system. Specific skin tones can also be adjusted in addition to the primary, secondary, and tertiary colors in the 12-pole system. 17dc91bb1f